Steve Pond is TheWrap’s Executive Editor, Awards and has been writing and overseeing awards coverage on the site since 2009. He spent decades writing about film, television, music and the entertainment industry for the Los Angeles Times, Washington Post, Rolling Stone, Premiere, New York Times, Playboy and many other publications. He is the author of the L.A. Times bestseller “The Big Show,” a behind-the-scenes look at the Academy Awards based on 15 years of unprecedented access to that show.
Experience:
Resides In:
Los Angeles
Education:
Steve received a Bachelor of Arts degree in Journalism from California State University, Long Beach.
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Fall Film Festivals Struggle for Relevance in the Year of Coronavirus
Scaled-down Venice and Toronto festivals and MIA movies will likely mute the impact of the events that usually launch awards season
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Awards
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Chadwick Boseman’s Manifesto: ‘I Want to Break Barriers in Every Way I Can’
“As an African American artist and filmmaker, that’s my goal, every time,” the actor told TheWrap
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‘The Personal History of David Copperfield’ Film Review: Armando Iannucci Meets Charles Dickens
The creator of “Veep” and “The Death of Stalin” has fun with a color-blind take on Dickens’ large and wacky cast of characters
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Keanu Reeves Recalls 7-Hour ‘Orgy’ of Auditions for Original ‘Bill & Ted’ in Unpublished 1987 Interview (Exclusive)
“I have other interests, but none as all-consuming as this godawful job,” a 22-year-old Reeves said in this previously unpublished interview
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Here’s an Excellent Flashback: Keanu Reeves and Alex Winter’s Earliest ‘Bill & Ted’ Interviews (Exclusive)
“I’m pretty bad,” Reeves said of his acting on the set of the cult classic from 33 years ago
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Steve Pond
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‘Bill & Ted Face the Music’ Film Review: Our Heroes Battle an Excellent Midlife Crisis
Alex Winter and Keanu Reeves return in a long-awaited third “Bill & Ted” movie that would rather be charming than frantic, and ups the stakes without feeling the need to get louder or more aggressive
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‘I’m Thinking of Ending Things’ Film Review: Charlie Kaufman Is Messing With Our Heads Again
Watch out, “Tenet” — Christopher Nolan is not the only director making long, stylish brain-teasers these days
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‘You Cannot Kill David Arquette’ Film Review: Enjoy the Documentary, But Don’t Trust It
The film about Arquette’s return to professional wrestling sends up plenty of red flags, but it’s also a robust (albeit bloody) piece of entertainment
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‘#Unfit’ Film Review: Documentary Offers a Scary Diagnosis of Donald Trump, But Will Voters Listen?
In the era of a Twitter-driven presidency and an around-the-clock barrage of revelation, accusation and condemnation, it’s hard for even a hard-hitting documentary feature not to feel a step or two slow
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How Female Directors Overcame Years of Bias to Score Record Number of Emmy Nominations
TheWrap Emmy magazine: “There’s only so many years you can go into a meeting and hear, ‘We hired a woman once, and it didn’t work,’” Lesli Linka Glatter says
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Awards
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Why ‘The Morning Show’ Director Mimi Leder Found a Cinematic Look for a Show About TV
TheWrap Emmy magazine: “I really wanted to shoot the women on this show very much the way men are shot,” Leder says.
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How ‘Homeland’ Director Lesli Linka Glatter Navigated the ‘Landmines’ of the Series Finale
TheWrap Emmy magazine: “‘Homeland’ started out with a traitor masquerading as a hero, and it ended with a hero masquerading as a traitor,” Glatter says
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What the Emmys Learned From Previous Makeovers (Including Rod Serling’s 1965 Disaster)
TheWrap Emmy magazine: This year’s coronavirus-caused Emmy makeover isn’t the first time the Television Academy has overhauled its show
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Awards
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How ‘Watchmen’ Director Nicole Kassell Set Show’s Tone With the ‘Opposite of a Superhero Opening’
TheWrap Emmy magazine: “When you have adults dressing in costumes, you really have to … make sure it stays grounded and doesn’t get absurd or silly,” Kassell says
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How ‘Modern Family’ Director Gail Mancuso Tackled Series’ Final Scene: ‘There Were Real Tears’
TheWrap Emmy magazine: “When they were hugging each other, that was the last thing we shot, and I needed one more take,” Emmy-nominated director says
